DOCSLIB.ORG

Musicweb International

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musicweb International MusicWeb 20th Anniversary International January 2015 ! Semiramide - La Signora Regale Track listing below review Arias and Scenes from Porpora to Rossini Anna Bonitatibus (mezzo) Accademia degli Astrusi; La Stagione Armonica/Federico Ferri rec. 19-22 and 25-29 November 2013, Teatro Consorziale, Budrio-BO, Italy. DDD Texts and translations included DEUTSCHE HARMONIA MUNDI 88725479862 [44:14 + 53:21] ! This is the kind of mezzo ‘concept album’ more associated with Cecilia Bartoli, except that some who are critical of Bartoli’s less authentic way with the Baroque – not something that greatly troubles me – will find Anna Bonitatibus’ manner more to their liking. In this case the concept is the operatic treatment of the semi-legendary Queen Semiramis from 1724 to 1828. The title should actually read ‘From Caldara to García’ because that’s the order on the CD. However, Porpora is a little better known than the former and Rossini much better known than the latter, of whom I must admit that I had never heard, though the García dynasty were famous Spanish musicians – Manuel was the first Almaviva in The Barber of Seville. Three pieces by Handel, in a pastiche by Leonardo Vinci, Gluck and Salieri are added out of chronological order as bonuses. Even without these the programme would have been slightly too long for a single CD; !their inclusion and the budget-price make the 2-CD format for a 97:36 playing time more palatable. Much of the music recorded here is receiving its first recording: two items even their first-ever performances. I can’t say that any of it is outstanding; though all of it is attractive and worth reviving, it’s all a bit samey until we reach the Nasolini and Meyerbeer. As the date of composition progresses, so the music becomes ever more coloratura but none of it presents any difficulties for Anna Bonitatibus. She is very well supported vocally where appropriate by La Stagione Armonica, including tenor soloists from the ensemble in the Nasolini (track 10). The period-instrument orchestral support !from Accademia degli Astrusi and Federico Ferri’s direction are also first-rate. Only the Rossini aria features in the current UK catalogue, with recordings by Joyce di Donato (Virgin/Erato, all Rossini: Recording of the Month ), Renée Fleming (Decca, with Bellini and Donizetti) and Cecilia Bartoli (Decca, Rossini Heroines). Not surprisingly, this piece is head and shoulders above everything else on the album and it receives a very !fine performance, which should appeal not just to bel canto canary-fanciers. Comparisons are not strictly possible because Bonitatibus sings the original manuscript version of this aria, published as an appendix to the 2001 Critical Edition, with a longer cavatina rather than the published shorter cavatina followed by a cabaletta. There’s no denying that Bartoli is stunning in this aria but Bonitatibus gives her such a very good run for her !money that I wonder if even the great Colbran, for whom Rossini composed the music, sounded better. After that the García is less impressive and even the Handel/Vinci pasticcio and the Gluck don’t quite rise to the level of the Rossini, but both receive excellent performances, as does the Salieri Sinfonia which rounds off the second CD in splendid style. I’ve already sung Anna Bonitatibus’s praises in Cavalli (La Didone and Ercole Amante) and Monteverdi ( Poppea: Recording of the Month ). This recital raises her even higher in my estimation. Perhaps we could now have a Gluck recital from her: on the strength of the second bonus track, that would rival the excellent Bartoli Gluck collection !(Decca 4783389). The recording is very good throughout. Fans of 24-bit sound will find a download in that format as well as in 16-bit, both !complete with pdf booklet, at Qobuz. I understand that the booklet is a limited-edition in its present, de luxe illustrated format. Despite its attractions, including details of the legends surrounding Semiramis and very helpful notes about the composers and the music, texts and translations, some of the English is a little unidiomatic. A little more thorough proof-reading would have corrected the information that Semiramis was the daughter-in low of Salmanassar. These small niggles apart, a most enjoyable pair of !CDs. Brian Wilson MusicWeb 20th Anniversary International January 2015 ! ! Track-listing: ! Antonio CALDARA (1670-1736) Semiramide in Ascalona (1725) Introduzione * [4:22] Aria Povera navicella* [4:07] Nicola PORPORA (1686-1768) Semiramide Regina dell’Assiria (1724) Aria Vanne fido, e al mesto regno* [2:20] Niccolò JOMMELLI (1714-1774) Semiramide Riconosciuta (1741) Recitativo e Aria: Barbaro... Tradita, sprezzata * [5:52] Andrea BERNASCONI (1706-1784) Semiramide (1765) Aria Ah non è vano il pianto* [11:05] Tommaso TRAETTA (1727-1779) Semiramide (1765) Aria Il pastor se torna aprile* [9:39] Luca Giardini (violin obbligato) Giovanni PAISIELLO (1740-1806) La Semiramide in Villa (1772) Aria Serbo in seno il cor piagato* [6:58] Francesco BIANCHI (1752-1810) La Vendetta di Nino (1790) Sinfonia * [4:35] Giovan Battista BORGHI (1738-1796) La Morte di Semiramide (1791) Aria Figlio diletto e caro* [5:07] Sebastiano NASOLINI (1768?-1798?) La Morte di Semiramide (1792) Recitativo e Aria con coro: Fermati! Il ciel minaccia... Deh sospendi ai pianti miei... Serbo ancora un’alma altera * [9:41] Charles-Simon CATEL (1773-1830) Sémiramis (1802) Dance No.2* [3:28] Giacomo MEYERBEER (1791-1864) Semiramide (1819) Recitativo e canzonetta con coro: Più non si tardi... Il piacer, la gioia scenda [6:31] Gioachino ROSSINI (1792-1868) Semiramide (1823) Coro di donne e Cavatina: Serena i vaghi rai... Bel raggio lusinghier* [7:57] Manuel GARCÍA (1775-1832) Semiramis (1828) !Recitativo e Aria: Già il perfido discese... Al mio pregar t’arrendi* [4:18] !Bonus tracks: George Frideric HANDEL (1685-1759) Semiramide riconosciuta (pastiche by Leonardo Vinci, etc., 1733) Fuggi dagli occhi miei [4:14] Christoph Willibald GLUCK (1714-1787) Semiramide riconosciuta (1748) Fuggi dagli occhi miei [3:10] Antonio SALIERI (1750-1825) Semiramide riconosciuta (1748) !Sinfonia [4:17] * world premiere recording .
Load more

Recommended publications
  • Press Caffarelli
    Caffarelli pt3 VOIX-DES-ARTS.COM, 21_09_2013 http://www.voix-des-arts.com/2013/09/cd-review-arias-for-caffarelli-franco.html 21 September 2013 CD REVIEW: ARIAS FOR CAFFARELLI (Franco Fagioli, countertenor; Naïve V 5333) PASQUALE CAFARO (circa 1716 – 1787) JOHANN ADOLF HASSE (1699 – 1783), LEONARDO LEO (1694 – 1744), GENNARO MANNA (1715 – 1779), GIOVANNI BATTISTA PERGOLESI (1710 – 1736), NICOLA ANTONIO PORPORA (1686 – 1768), DOMENICO SARRO (1679 – 1744), and LEONARDO VINCI (1690 – 1730): Arias for Caffarelli—Franco Fagioli, countertenor; Il Pomo d’Oro; Riccardo Minasi [Recorded at the Villa San Fermo, Convento dei Pavoniani, Lonigo, Vicenza, Italy, 25 August – 3 September 2012; Naïve V 5333; 1CD, 78:31; Available from Amazon, fnac, JPC, and all major music retailers] If contemporary accounts of his demeanor can be trusted, Gaetano Majorano—born in 1710 in Bitonto in the Puglia region of Italy and better known to history as Caffarelli—could have given the most arrogant among the opera singers of the 21st Century pointers on enhancing their self-appreciation. Unlike many of his 18th-Century rivals, Caffarelli enjoyed a certain level of privilege, his boyhood musical studies financed by the profits of two vineyards devoted to his tuition by his grandmother. Perhaps most remarkable, especially in comparison with other celebrated castrati who invented elaborate tales of childhood illnesses and unfortunate encounters with unfriendly animals to account for their ‘altered’ states, is the fact that, having been sufficiently impressed by the quality of his puerile voice or convinced thereof by the praise of his tutors, Caffarelli volunteered himself for castration. It is suggested that his most influential teacher, Porpora, with whom Farinelli also studied, was put off by Caffarelli’s arrogance but regarded him as the most talented of his pupils, reputedly having pronounced the castrato the greatest singer in Europe—a sentiment legitimately expressive of Porpora’s esteem for Caffarelli, perhaps, and surely a fine advertisement for his own services as composer and teacher.
    [Show full text]
  • G010003126831D Se Tu Conoscessi Semiramide, Sventurata La Diresti, Non Rea
    G010003126831D Se tu conoscessi Semiramide, sventurata la diresti, non rea. Kenntest du Semiramis, würdest du sie unglücklich nennen, nicht schuldig. Nessuno amò la povera regina, nessuno! Niemand liebt die arme Königin, nicht einer! Ella è sola, si sente sola nel suo vasto impero, come un’isola deserta sul mare. Sie ist allein, sie fühlt sich einsam in ihrem unermesslichen Imperium, wie eine verlassene Insel im Meer. Ognuno in lei vede e desidera la regina; Die Königin ist es, die alle in ihr sehen und begehren: nessuno ha amato la donna. Keiner liebt die Frau allein. Semiramide. Racconto babilonese (Anton Giulio Barrili, 1873) Semiramide. Racconto babilonese (Anton Giulio Barrili, 1873) If you knew Semiramis, you would call her unfortunate, not guilty. Si tu connaissais Sémiramis, tu la jugerais malheureuse, et non point coupable. No one loves the poor queen, no one! Personne n’aima la pauvre reine, personne! She is alone, she feels alone in her vast empire, Elle est seule, elle se sent seule dans son vaste empire, like a desert island in the sea. comme une île déserte au milieu de la mer. It is the queen that everyone sees in her and desires; Chacun voit et désire en elle la reine ; no one loved the woman. Mais jamais la femme ne fut aimée. Semiramide. Racconto babilonese (Anton Giulio Barrili, 1873) Semiramide. Racconto babilonese ( Anton Giulio Barrili, 1873 ) 3 S emiramide La Signora Regale ANTONIO CALDARA (1670–1736) SEMIRAMIDE IN ASCALONA | 1725 GIOVAN BATTISTA BORGHI (1738– 1796) LA MORTE DI SEMIRAMIDE | 1791 1 Introduzione *
    [Show full text]
  • The Italian Girl in Algiers
    Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music
    [Show full text]
  • The Howard Mayer Brown Libretto Collection
    • The Howard Mayer Brown Libretto Collection N.B.: The Newberry Library does not own all the libretti listed here. The Library received the collection as it existed at the time of Howard Brown's death in 1993, with some gaps due to the late professor's generosity In loaning books from his personal library to other scholars. Preceding the master inventory of libretti are three lists: List # 1: Libretti that are missing, sorted by catalog number assigned them in the inventory; List #2: Same list of missing libretti as List # 1, but sorted by Brown Libretto Collection (BLC) number; and • List #3: List of libretti in the inventory that have been recataloged by the Newberry Library, and their new catalog numbers. -Alison Hinderliter, Manuscripts and Archives Librarian Feb. 2007 • List #1: • Howard Mayer Brown Libretti NOT found at the Newberry Library Sorted by catalog number 100 BLC 892 L'Angelo di Fuoco [modern program book, 1963-64] 177 BLC 877c Balleto delli Sette Pianeti Celesti rfacsimile 1 226 BLC 869 Camila [facsimile] 248 BLC 900 Carmen [modern program book and libretto 1 25~~ Caterina Cornaro [modern program book] 343 a Creso. Drama per musica [facsimile1 I 447 BLC 888 L 'Erismena [modern program book1 467 BLC 891 Euridice [modern program book, 19651 469 BLC 859 I' Euridice [modern libretto and program book, 1980] 507 BLC 877b ITa Feste di Giunone [facsimile] 516 BLC 870 Les Fetes d'Hebe [modern program book] 576 BLC 864 La Gioconda [Chicago Opera program, 1915] 618 BLC 875 Ifigenia in Tauride [facsimile 1 650 BLC 879 Intermezzi Comici-Musicali
    [Show full text]
  • METASTASIO COLLECTION at WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations In
    METASTASIO COLLECTION AT WESTERN UNIVERSITY Works Intended for Musical Setting Scores, Editions, Librettos, and Translations in the Holdings of the Music Library, Western University [London, Ontario] ABOS, Girolamo Alessandro nell’Indie (Ancona 1747) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 14183]) Aria: “Se amore a questo petto” (Alessandro [v.1] Act 1, Sc.15) [P.S.M. Ital. Mus. Ms. Sec.A, Pt.1, reel 8] ABOS, Girolamo Artaserse (Venice 1746) (Mid-eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [Add. Ms. 31655]) Aria: “Mi credi spietata?” (Mandane, Act 3, Sc.5) [P.S.M. Ital. Mus. Ms. Sec.C, Pt.2, reel 27] ADOLFATI, Andrea Didone abbandonata (with puppets – Venice 1747) (Venice 1747) – (Venice: Luigi Pavini, 1747) – (Libretto) [W.U. Schatz 57, reel 2] AGRICOLA, Johann Friedrich Achille in Sciro (Berlin 1765) (Berlin 1765) – (Berlin: Haude e Spener, 1765) – (Libretto) (With German rendition as Achilles in Scirus) [W.U. Schatz 66, reel 2] AGRICOLA, Johann Friedrich Alessandro nell’Indie (as Cleofide – Berlin 1754) (Berlin 1754) – (Berlin: Haude e Spener, [1754]) – (Libretto) (With German rendition as Cleofide) [W.U. Schatz 67, reel 2] ALBERTI, Domenico L’olimpiade (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) (From London: British Library [R.M.23.e.2 (1)]) Aria: “Che non mi disse un dì!” (Argene, Act 2, Sc.4) [P.S.M. Ital. Mus. Ms. Sec.B, Pt.4, reel 73] ALBERTI, Domenico Temistocle (no full setting) (Eighteenth century) – (Microfilm of Ms. Score) 2 (From London: British Library [R.M.23.c.19]) Aria: “Ah! frenate il pianto imbelle” (Temistocle, Act 3, Sc.3) [P.S.M.
    [Show full text]
  • La Serva Padrona Set by Pergolesi
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
    [Show full text]
  • NEWSLETTER of the American Handel Society
    NEWSLETTER of The American Handel Society Volume XXXI, Number 2 Summer 2016 HANDEL’S GREATEST HITS: REPORT FROM HALLE THE COMPOSER’S MUSIC IN EIGHTEENTH-CENTURY BENEFIT CONCERTS Buried in The London Stage are advertisements for concerts including or devoted to Handel’s music. Starting in the 1710s and continuing through the eighteenth century, musicians of all types used Handel’s music on their concert programs, most especially during their benefit evenings.1 These special events were dedicated to promoting a sole performer (or other members of the theatrical staff at a particular playhouse or concert hall). As was tradition, performers would have organized these events from beginning to end by hiring the other performers, renting the theater, creating advertisements, soliciting patrons, and The Handel Festival in Halle took place this year from programming the concert. Advertisements suggest that singers Friday, May 27 to Sunday, June 12, 2016 with the theme “History – and instrumentalists employed Handel’s music in benefit concerts Myth – Enlightenment.” Following the pattern established last year, for their own professional gain. They strategically programmed the Festival extended over three weekends. The Opening Concert, particular pieces that would convey specific narratives about their which had been a feature of recent Festivals, was not given. Instead, own talents, as well as their relationship to the popular composer. the first major musical event was the premiere of the new staging Benefit concerts were prime opportunities for performers of Sosarme, Re di Media at the Opera House, using performing to construct a narrative, or a story, through their chosen program. materials prepared by Michael Pacholke for the Hallische Händel- On the one hand, concert programs allowed performers to Ausgabe (HHA).
    [Show full text]
  • Tailor-Made: Does This Song Look Good on Me? the Voices That Inspired Vocal Music History
    ABSTRACT Title of Dissertation: TAILOR-MADE: DOES THIS SONG LOOK GOOD ON ME? THE VOICES THAT INSPIRED VOCAL MUSIC HISTORY Theresa Rose Bickham, Doctor of Musical Arts in Vocal Performance, 2019 Dissertation directed by: Professor Carmen Balthrop, School of Music The history of tailor-made repertoire is celebrated, and, in many cases, the composer and the works live on in perpetuity while the performing artist is remembered only in historical documents. Timbres, agilities, ranges, and personalities of singers have long been a source of inspiration for composers. Even Mozart famously remarked that he wrote arias to fit singers like a well-tailored suit. This dissertation studies the vocal and dramatic profiles of ten sopranos and discovers how their respective talents compelled famed composers to create music that accommodated each singer’s unique abilities. The resulting repertoire advanced the standard of vocal music and encouraged new developments in the genres and styles of compositions for the voice. This is a performance dissertation and each singer is depicted through the presentation of repertoire originally created for and by them. The recital series consisted of one lecture recital and two full recitals performed at the University of Maryland, College Park. I was joined in the performance of these recitals by pianist Andrew Jonathan Welch, clarinetist Melissa Morales, and composer/pianist Dr. Elaine Ross. The series was presented chronologically, and the first recital included works of the Baroque and Classical music eras written for Marie Le Rochois, Faustina Bordoni, Catarina Cavalieri, and Adriana Ferrarese del Bene. The second recital advanced into the nineteenth-century with repertoire composed for Anna Milder-Hauptmann, Giulia Grisi, and Mary Garden.
    [Show full text]
  • Leonardo Vinci CATONE in UTICA
    Saison 2014/15 Saison 2015/16 Leonardo Vinci CATONE IN UTICA CATONE IN UTICA PARNASSUS ARTS PRODUCTIONS Leonardo Vinci CATONE IN UTICA bien sûr Naples, parmi lesquels Didone Abbandonata (Rome, 1728) et Artaserse (Rome, 1730). Successeur d‘Alessandro Scarlatti à la Chapelle Royale de Naples, il fut à la tête de la nouvelle génération de compositeurs d‘opera seria italiens. Il se différencie de son prédécesseur en simplifiant les mélodies, introduisant davantage de récitatifs accompagnés, mettant plus en valeur le caractère émotionnel des sentiments musicaux ou des personnages. Son écriture musicale à la fois pleine de fraîcheur, de vivacité, d‘invention et de grâce, est souvent mise au service de l‘extraordinaire technique des castrats comme Farinelli ou Carestini. Vinci est le Lully de l’Italie : vrai, simple, naturel, expressif. Pour des générations, Leonardo Vinci n’a été qu’un obscur compositeur baroque parmi d’autres. La récente redécouverte de l’œuvre de Vinci a levé le voile sur un génie oublié de l’opéra italien. Leonardo Vinci commence à se faire un nom en composant des opéras comiques en dialecte napolitain. Il en compose onze de 1719 à 1724, dont Le zite‘n galera en 1722, qui obtient un grand succès grâce à son style plein de vie et d‘esprit. Ensuite, il écrit avec succès près de trente- six opéras pour Venise, Rome, Padoue et 2 CATONE IN UTICA PARNASSUS ARTS PRODUCTIONS Créé en 1728 à Rome, Catone in Utica livre un feu d’artifice vocal. Bien que l’œuvre soit emblématique de l’opera seria, elle contient de notables entorses à la norme : les deux personnages sur lesquels s’abat la charge émotionnelle de l’action, Caton et sa fille Fulvie, ne s’expriment en effet qu’à travers des récitatifs, souvent accompagnés, pour un effet dramatique remarquable.
    [Show full text]
  • Who Was Who in the Old Conservatories
    Who Was Who In The Old Conservatories Timelines of the Various Maestros Along with Brief Histories of their Institutions The Loreto The orphanage of Santa Maria di Loreto was founded in 1535 in the poor fishermen’s district of Naples. Both boys and girls were taken in until a separate school for girls opened in 1543. Children were taught various trades, which included music after the hiring of professional music teachers (between 1630 and 1640). From 1644 onward, boys able to pay tuition could also enroll. During the eighteenth century the conservatory be- came one of Europe’s finest schools of music. The unsettled times caused by the Napoleanic wars led to Ferdinand IV req- School Uniform uisitioning the conservatory’s building in 1797 for use as a mili- tary hospital. Teachers and students moved to the conservatory of Sant’Onofrio. Finally, in 1806, the remants of Sant’Onofrio and S. M. di Loreto combined with the Pietà dei Turchini to create the new Royal College of Music. Conservatorio di Santa Maria di Loreto First Masters Second Masters Don Pietro Bartilotti 1689 1690 Nicola Acerbo Gaetano Veneziano 1695 1705 Don Giuliano Perugino Don Giuliano Perugino 1716 Giovanni Veneziano Francesco Mancini 1720 1737 Giovanni Fischietti Nicola Porpora 1739 1741 Francesco Durante 1742 Pierantonio Gallo 1755 Gennaro Manna (with Gallo) 1756 1761 Antonio Sacchini 1762 Fedele Fenaroli Fedele Fenaroli 1777 Saverio Valente Giacomo Tritto 1797 Giovanni Paisiello 1806 Fedele Fenaroli S. M. di Loreto loses its building and moves to S. Onofrio. Niccolò Zingarelli 1813 S. M. di Loreto merges with the Pietá to form the Real Collegio di Musica.
    [Show full text]
  • Catone in Utica
    CATONE IN UTICA Tragedia per musica. testi di Pietro Metastasio musiche di Leonardo Vinci Prima esecuzione: 19 gennaio 1728, Roma. www.librettidopera.it 1 / 67 Informazioni Catone in Utica Cara lettrice, caro lettore, il sito internet www.librettidopera.it è dedicato ai libretti d©opera in lingua italiana. Non c©è un intento filologico, troppo complesso per essere trattato con le mie risorse: vi è invece un intento divulgativo, la volontà di far conoscere i vari aspetti di una parte della nostra cultura. Motivazioni per scrivere note di ringraziamento non mancano. Contributi e suggerimenti sono giunti da ogni dove, vien da dire «dagli Appennini alle Ande». Tutto questo aiuto mi ha dato e mi sta dando entusiasmo per continuare a migliorare e ampliare gli orizzonti di quest©impresa. Ringrazio quindi: chi mi ha dato consigli su grafica e impostazione del sito, chi ha svolto le operazioni di aggiornamento sul portale, tutti coloro che mettono a disposizione testi e materiali che riguardano la lirica, chi ha donato tempo, chi mi ha prestato hardware, chi mette a disposizione software di qualità a prezzi più che contenuti. Infine ringrazio la mia famiglia, per il tempo rubatole e dedicato a questa attività. I titoli vengono scelti in base a una serie di criteri: disponibilità del materiale, data della prima rappresentazione, autori di testi e musiche, importanza del testo nella storia della lirica, difficoltà di reperimento. A questo punto viene ampliata la varietà del materiale, e la sua affidabilità, tramite acquisti, ricerche in biblioteca, su internet, donazione di materiali da parte di appassionati. Il materiale raccolto viene analizzato e messo a confronto: viene eseguita una trascrizione in formato elettronico.
    [Show full text]
  • A Scintillating Siroe Göttingen Handel Festival 2013
    12 Opera con Brio, LLC May 2013 Opera con Brio Richard B. Beams A Scintillating Siroe Göttingen Handel Festival 2013 Handel’s Siroe, Re di Persia of 1728 is a problematic work, at focus on the sopranos’ archetypal rivalry for the affections of least at first appearance. A product of the waning years of his the castrato superstar of the day, Senesino. As distinguished productive First Academy period, it was one of five operas Handel Scholar Winton Dean comments, “we are faced with tailored for the famous “Rival Queens,” Francesca Cuzzoni and Handel at the height of his powers struggling with a Faustina Bordoni. Handel used the verbose libretto of the recalcitrant libretto and an ungainly bunch of characters. They young Pietro Metastasio, with its convoluted plot, ill suited it spend so much time deceiving each other or being deceived, or would seem to Handel’s inclination to move the drama forward both, that none emerges in a strong positive light.” rather than to linger over many simile arias and the like, or to 43 Opera con Brio, LLC May 2013 Yet the 2013 Göttingen Handel Festival turned this rarely arias save one, “Se l’amor tuo mi rendi,” a short buoyant piece performed, relatively obscure opera into a stunning success. near the end as Siroe forgives his conniving brother Medarse.) Indeed it was a highpoint of my fifteen some years attending With the recitatives so reduced, claims Winton Dean, “the plot this Festival, and I would be willing to bet, a highlight as well with its political scheming, long-stored vengeance, amorous of the Festival’s seventy-year history.
    [Show full text]